Return to Motion Pictures

Today, the movies have gone all the way back to the pre-Griffith days; or rather, they have accepted, on a broad scale, the error that destroyed D. W. Griffith: the belief that a movie is primarily a director’s art, that content, story, and cast do not matter—i.e., that it is an art concerned only with the “how,” not the “what”—i.e., that it is an art of means, without ends—i.e., that it is the field of trick photographers, not of artists.